through the highlands of Scotland,

在蘇格蘭高地旅遊，

and he stops at a pub to get a drink.

在一家酒館停下來喝一杯。

And the only people in there is a bartender

那裡只有酒保

and an old man nursing a beer.

和一位喝著啤酒的老人家。

And he orders a pint, and they sit in silence for a while.

背包客點了杯啤酒，他們默默然坐了一會。

And suddenly the old man turns to him and goes,

忽然間，老人家轉向他說，

"You see this bar?

"看到這家酒吧嗎?

I built this bar with my bare hands

我用上全縣最好的木材

from the finest wood in the county.

憑雙手建成這家酒吧。

Gave it more love and care than my own child.

給它比給我兒子更多的愛和關心。

But do they call me MacGregor the bar builder? No."

但他們會稱呼我酒吧建造者MacGregor嗎?不會。"

Points out the window.

指向窗外。

"You see that stone wall out there?

"你看見外面那石牆嗎?

I built that stone wall with my bare hands.

我赤手築起的石牆。

Found every stone, placed them just so through the rain and the cold.

找來每塊石頭，歷盡雨水和寒冷把它們疊起來。

But do they call me MacGregor the stone wall builder? No."

但他們會稱呼我石牆建造者MacGregor嗎?不會。"

Points out the window.

指向窗外。

"You see that pier on the lake out there?

你看見外面湖邊那碼頭嗎?

I built that pier with my bare hands.

我赤手築成那碼頭。

Drove the pilings against the tide of the sand, plank by plank.

迎著浪把樁柱，一枝枝的，打進湖底沙中。

But do they call me MacGregor the pier builder? No.

但他們會稱呼我碼頭建造者MacGregor嗎?不會。

But you fuck one goat ... "

但你和一頭羊性交..."

(Laughter)

(笑聲)

Storytelling --

說故事 --

(Laughter)

(笑聲)

is joke telling.

就是說笑話。

It's knowing your punchline,

那是知道你的笑點，

your ending,

你故事的結局，

knowing that everything you're saying, from the first sentence to the last,

知道你所說的一切，從第一到最後的一句話，

is leading to a singular goal,

都是朝著單一目標，

and ideally confirming some truth

理想地也確認一些真理

that deepens our understandings

以加深我們對自己

of who we are as human beings.

作為人類的認識。

We all love stories.

我們都愛聽故事。

We're born for them.

我們為它們而來到這個世界。

Stories affirm who we are.

故事肯定我們是什麼的人。

We all want affirmations that our lives have meaning.

我們都想得到生命是有意義的肯定。

And nothing does a greater affirmation

沒有其他東西可比

than when we connect through stories.

用故事把我們連結起來帶來更大的肯定。

It can cross the barriers of time,

它可穿越時間，

past, present and future,

過去、現在和未來的障礙，

and allow us to experience

讓我們可透過其他人，

the similarities between ourselves

真實的或想像的，

and through others, real and imagined.

去感受彼此的異同。

The children's television host Mr. Rogers

兒童電視節目主持人Rogers先生

always carried in his wallet

在他的錢包裡經常帶著

a quote from a social worker

社會工作者的一句說話

that said, "Frankly, there isn't anyone you couldn't learn to love

它說:"坦白說，當你聽過他們的故事後，

once you've heard their story."

沒有任何人你不能學會去愛他的。"

And the way I like to interpret that

我喜歡用來演譯它的方式是

is probably the greatest story commandment,

說故事的誡條最重要的

which is "Make me care" --

是"令我關心" --

please, emotionally,

請你，在感情上、

intellectually, aesthetically,

理智上和美學上

just make me care.

令我關心。

We all know what it's like to not care.

我們都知道毫不在乎是怎樣的。

You've gone through hundreds of TV channels,

你逐一頻道地

just switching channel after channel,

轉換了數百個電視頻道，

and then suddenly you actually stop on one.

然後突然停在某一頻道上。

It's already halfway over,

它已播放了一半，

but something's caught you and you're drawn in and you care.

但有些東西吸引到你令你關心。

That's not by chance,

這並非偶然，

that's by design.

而是經過精心設計的。

So it got me thinking, what if I told you my history was story,

這令我反省，如果我把要告訴你我的歷史作為故事，

how I was born for it,

我如何為它來到這個世界，

how I learned along the way this subject matter?

如何在過程中不斷學習這個題材?

And to make it more interesting,

為使它更有趣，

we'll start from the ending

我會從結局開始

and we'll go to the beginning.

然後回到起點。

And so if I were going to give you the ending of this story,

如果我要先給你這個故事的結局，

it would go something like this:

它會是像這樣:

And that's what ultimately led me

這亦是最終令我

to speaking to you here at TED

在TED這裡

about story.

說給各位聽的故事。

And the most current story lesson that I've had

我最近的故事課是

was completing the film I've just done

剛在今年2012

this year in 2012.

完成那一部電影。

The film is "John Carter." It's based on a book called "The Princess of Mars,"

電影名叫"異星爭霸戰：尊卡特傳奇"(John Carter)。它根據Edgar Rice Burroughs所寫

which was written by Edgar Rice Burroughs.

一本叫"火星公主"(The Princess of Mars")的書拍成。

And Edgar Rice Burroughs actually put himself

Edgar Rice Burroughs 亦在電影內

as a character inside this movie, and as the narrator.

扮演一個角色和擔任旁白。

And he's summoned by his rich uncle, John Carter, to his mansion

他富有的叔叔，尊卡特，發電報傳召他去他的豪宅

with a telegram saying, "See me at once."

電報上說，"立刻前來見我。"

But once he gets there,

當他去到那裡，

he's found out that his uncle has mysteriously passed away

他發現叔叔神秘地去世了

and been entombed in a mausoleum on the property.

被埋在自有的陵墓內

(Video) Butler: You won't find a keyhole.

(影片)管家:你不會找到匙孔的。

Thing only opens from the inside.

它只能從裡面打開。

He insisted,

他堅持，

no embalming, no open coffin,

不做防腐處理，不開棺，

no funeral.

不舉行葬禮。

You don't acquire the kind of wealth your uncle commanded

如果是像我們一樣的人

by being like the rest of us, huh?

你不會得到你叔叔支配的那樣的財富，是吧?

Come, let's go inside.

來，我們進去看看。

AS: What this scene is doing, and it did in the book,

這一幕，在書中也同樣出現，有什麼目的呢?

is it's fundamentally making a promise.

它基本上是作出一個承諾。

It's making a promise to you

它向你作出一個承諾

that this story will lead somewhere that's worth your time.

故事會領你到某處理值得你花時間的地方。

And that's what all good stories should do at the beginning, is they should give you a promise.

這是所有優秀故事開始時都應做的，給你一個承諾。

You could do it an infinite amount of ways.

你可有無盡的方法去做。

Sometimes it's as simple as "Once upon a time ... "

有時只是簡單地"很久以前..."

These Carter books always had Edgar Rice Burroughs as a narrator in it.

這些卡特的書裡面都有Edgar Rice Burroughs 作為旁白。

And I always thought it was such a fantastic device.

我經常覺得這是一個很棒的工具。

It's like a guy inviting you around the campfire,

就像有人邀請你加入營火晚會，

or somebody in a bar saying, "Here, let me tell you a story.

或酒吧中有人說，"讓我給你說個故事。

It didn't happen to me, it happened to somebody else,

它並非發生在我身上，而是在另一個人身上，

but it's going to be worth your time."

但它值得你花時間聽聽。"

A well told promise

一個說得好的承諾

is like a pebble being pulled back in a slingshot

就像拉彈弓的石子

and propels you forward through the story

並推動你前進

to the end.

直至故事的結局。

In 2008,

2008年，

I pushed all the theories that I had on story at the time

我把當時對故事的所有理論

to the limits of my understanding on this project.

在這項目上推到我能理解的極限

(Video) (Mechanical Sounds)

(影片)(機械音響)

♫ And that is all ♫

♫這就是♫

♫ that love's about ♫

♫愛的意義♫

♫ And we'll recall ♫

♫我們會♫

♫ when time runs out ♫

♫在時間消逝後♫

♫ That it only ♫

♫記得它♫

(Laughter)

(笑聲)

AS: Storytelling without dialogue.

沒有對話地說故事。

It's the purest form of cinematic storytelling.

這是電影式說故事的最純粹的形式。

It's the most inclusive approach you can take.

它是你可採用最包容的方式。

It confirmed something I really had a hunch on,

它印證了我真的有預感的一些東西，

is that the audience

就是觀眾

actually wants to work for their meal.

實際想參與準備他們的食物。

They just don't want to know that they're doing that.

他們只是不想知道自己在做那些工作。

That's your job as a storyteller,

那是你作為說故事者的任務，

is to hide the fact

就是隱瞞

that you're making them work for their meal.

你令他們自己準備食物的事實。

We're born problem solvers.

我們是天生解決問題的人。

We're compelled to deduce

我們被迫演譯

and to deduct,

和歸納，

because that's what we do in real life.

因為這正是我們在現實生活所做的。

It's this well-organized absence of information

正是這種有組織的信息不足

that draws us in.

把我們拉進去。

There's a reason that we're all attracted to an infant or a puppy.

我們被嬰兒或小狗吸引是有原因的。

It's not just that they're damn cute;

不單是因他們可愛;

it's because they can't completely express

而是他們不能完全表達

what they're thinking and what their intentions are.

他們的想法和動機。

And it's like a magnet.

它像一塊磁鐵。

We can't stop ourselves

我們無法阻止自己

from wanting to complete the sentence and fill it in.

要完成句子和填上去。

I first started

我首次開始

really understanding this storytelling device

真正明白說故事的工具

when I was writing with Bob Peterson on "Finding Nemo."

是在我和Bob Peterson寫"海底總動員(Finding Nemo)"的時候。

And we would call this the unifying theory of two plus two.

我們稱之為二加二的統一理論。

Make the audience put things together.

使觀眾把東西放在一起。

Don't give them four,

不要把四給他們，

give them two plus two.

給他們二加二。

The elements you provide and the order you place them in

你提供的元素和編排它們的次序

is crucial to whether you succeed or fail at engaging the audience.

對你能否成功引起觀眾投入起關鍵作用。

Editors and screenwriters have known this all along.

編輯和編劇們一直都知道這點。

It's the invisible application

它無形的應用

that holds our attention to story.

吸引我們對故事的關注。

I don't mean to make it sound

我不是要它聽起來

like this is an actual exact science, it's not.

像是精確科學，它不是。

That's what's so special about stories,

這是為何故事那麼特別，

they're not a widget, they aren't exact.

它們不是零件，它們並不精確。

Stories are inevitable, if they're good,

好的故事是不可抗拒的，

but they're not predictable.

但它們是難以預測的。

I took a seminar in this year

我今年參加了

with an acting teacher named Judith Weston.

表演老師Judith Weston的一個研討會。

And I learned a key insight to character.

我學到了對角色的一個見解。

She believed that all well-drawn characters

她相信所有出色的角色

have a spine.

都是有骨幹的。

And the idea is that the character has an inner motor,

意思是角色有一副內在的發動機

a dominant, unconscious goal that they're striving for,

他們所追求的一個主導性、沒意識的目標，

an itch that they can't scratch.

一個他們搔不著的癢處。

She gave a wonderful example of Michael Corleone,

她舉了很好的例子，就是"教父"中Michael Corleone，

Al Pacino's character in "The Godfather,"

是Al Pacino飾演的角色，

and that probably his spine

他們骨幹很可能

was to please his father.

就是討好他的父親。

And it's something that always drove all his choices.

那一直驅動著他所有的選擇。

Even after his father died,

即使他父親去世後，

he was still trying to scratch that itch.

他還不斷依循這個思維

I took to this like a duck to water.

這令我如魚得水。

Wall-E's was to find the beauty.

在Wall-E中是美的追求。

Marlin's, the father in "Finding Nemo,"

在"海底總動員"中，父親Marlin，

was to prevent harm.

是要避開傷害。

And Woody's was to do what was best for his child.

而“玩具總動員(Toy Story)”中Woody是要做對小孩最好的事。

And these spines don't always drive you to make the best choices.

但這些骨幹不一定驅使你作出最佳的選擇。

Sometimes you can make some horrible choices with them.

有時你可作出可怕的選擇。

I'm really blessed to be a parent,

我其的很幸運能作為一名家長，

and watching my children grow, I really firmly believe

看著孩子成長，我真的堅信

that you're born with a temperament and you're wired a certain way,

你生與俱來某氣質和特定想法，

and you don't have any say about it,

你是無權過問的，

and there's no changing it.

亦無法改變的。

All you can do is learn to recognize it

你只可學會認識它

and own it.

和擁有之。

And some of us are born with temperaments that are positive,

有些人生與俱來正面的氣質，

some are negative.

有些是負面的。

But a major threshold is passed

但當你夠成熟

when you mature enough

去承認是什麼驅使你

to acknowledge what drives you

並去操控它時

and to take the wheel and steer it.

你就通過了一個重要的門檻。

As parents, you're always learning who your children are.

作為父母，你總是在了解你的孩子。

They're learning who they are.

他們也在了解自己。

And you're still learning who you are.

而你亦仍在了解自己。

So we're all learning all the time.

所以我們無時無刻都在學習了解。

And that's why change is fundamental in story.

這是為何改變是故事的基礎。

If things go static, stories die,

如果事物靜止，故事就失去生命，

because life is never static.

因為生活永不靜止。

In 1998,

1998年，

I had finished writing "Toy Story" and "A Bug's Life"

我寫完"玩具總動員（Toy Story）"和"蟲蟲特攻隊（A Bug's Life）"之後

and I was completely hooked on screenwriting.

我完全迷上了編劇。

So I wanted to become much better at it and learn anything I could.

所以我想做得更好而盡我所能去學習。

So I researched everything I possibly could.

我盡我所能去研究一切。

And I finally came across this fantastic quote

最後我遇到這奇妙的佳句

by a British playwright, William Archer:

英國劇作家 William Archer 所說的:

"Drama is anticipation

"戲劇是預期

mingled with uncertainty."

夾雜著不明朗。"

It's an incredibly insightful definition.

這是一個令人難以置信的精闢定義。

When you're telling a story,

當你說故事時，

have you constructed anticipation?

有沒有建立期待?

In the short-term, have you made me want to know

短暫地，你有沒有令我想要知道

what will happen next?

接下來會發生什麼?

But more importantly,

但更重要的是，

have you made me want to know

你有沒有令我想要知道

how it will all conclude in the long-term?

它長期的結局?

Have you constructed honest conflicts

你有沒有透過事實真相

with truth that creates doubt

建立誠實的衝突

in what the outcome might be?

創造對可能出現的結果產生的懷疑?

An example would be in "Finding Nemo,"

在"海底總動員（Finding Nemo）"有個例子，

in the short tension, you were always worried,

在短期中，你總是擔心

would Dory's short-term memory

Dory的短暫記憶

make her forget whatever she was being told by Marlin.

會否令他忘記Marlin對她說過的話。

But under that was this global tension

但在這之下是

of will we ever find Nemo

能否在浩瀚的大海中

in this huge, vast ocean?

找到Nemo的整體張力。

In our earliest days at Pixar,

我們早期在皮克斯工作室時，

before we truly understood the invisible workings of story,

在我們真正了解故事的無形運作前，

we were simply a group of guys just going on our gut, going on our instincts.

我們簡單地只是一群靠直覺和本能去做的人。

And it's interesting to see

有趣的是

how that led us places

這引領我們

that were actually pretty good.

去到實際相當不錯的位置。

You've got to remember that in this time of year,

你要記住在每年的這個時候，

1993,

在1993年那時，

what was considered a successful animated picture

被視為成功的動畫

was "The Little Mermaid," "Beauty and the Beast,"

是"小美人魚(The Little Mermaid)"，"美女與野獸(Beauty and the Beast)"，

"Aladdin," "Lion King."

"阿拉丁(Aladdin)"，"獅子王(Lion King)"。

So when we pitched "Toy Story" to Tom Hanks for the first time,

當我們首次向Tom Hanks推薦"玩具總動員"時，

he walked in and he said,

他走進來說，

"You don't want me to sing, do you?"

"你們不是要我唱歌吧?"

And I thought that epitomized perfectly

我想這完美地概括了

what everybody thought animation had to be at the time.